護(hù)士人妻-三天三夜的激情

繼女2024

好像一切都很糟糕

Ay?e, Ali, Mehmet and Zeynep are middle-class millennials struggling to make ends meet in Istanbul. Either still living with their parents or hardly getting by without help from their families, they are all beset by similar woes: money crunch, joblessness, social isolation. In view of the world’s horrors that Zeynep enumerates in her diary entries, these are minor problems, ‘slight disasters’, but they are all-consuming, at least to the extent of making them cry in the still of the night. 　　However, Umut Subasi’s first feature, Almost Entirely a Slight Disaster, is not a melodrama. With an appealingly light touch, it diagnoses the malaise of a generation that has run up against a dead end, one whose future prospects are indistinguishable from a game of chance. This is a world where astrology, the lottery and online personality tests compete with visa and job applications as life-shaping elements. 　　Fittingly, the film is structured around chance and coincidence, with its handful of characters encountering each other in every permutation, as though there were no world outside this small social bubble. With self-aware, frontal framing that pins characters to their surroundings and a counterintuitive musical score that turns pathos into humour, Subasi offers a social-media movie without social media, one whose characters are united in their double lives and frustrated desires. 　　源自：https://iffr.com/en/iffr/2023/films/almost-entirely-a-slight-disaster

天堂孤影

　　環(huán)衛(wèi)公司垃圾車(chē)駕駛員尼卡德（Matti Pellonp?? 飾）的老同事計(jì)劃籌資組建自己的環(huán)衛(wèi)公司，邀請(qǐng)尼卡德技術(shù)入股，但老同事不久急病突發(fā)身亡，尼卡德的生活重回一潭死水狀態(tài)。尼卡德心有不甘借酒滋事，在被拘留的時(shí)候結(jié)識(shí)日后的同事米卡拉。米卡拉偶而會(huì)不識(shí)趣的妨礙尼卡德暗地追求超市售貨員伊羅娜（Kati Outinen 飾），但他仍是尼卡德最可依賴(lài)的朋友。伊羅娜為報(bào)復(fù)超市經(jīng)理偷走了錢(qián)盒，尼卡德幫助她找到服裝店的新工作，服裝店經(jīng)理夾到尼卡德與伊羅娜的關(guān)系中間，但尼卡德最終奪回了自己的愛(ài)人?！　”酒@1987年芬蘭電影尤西獎(jiǎng)最佳影片獎(jiǎng)。是導(dǎo)演郭立斯馬基（Aki Kaurism?ki）無(wú)產(chǎn)階級(jí)三部曲的第一部。

穿越愛(ài)情線

　　寵愛(ài)女友的男主角，在好友幫忙下成功求婚。男主角當(dāng)晚高興入眠。至第二天醒來(lái)，發(fā)現(xiàn)自己在一個(gè)陌生房間，身邊多了一個(gè)陌生女子，她告知是自己的老婆，驚訝之時(shí)才發(fā)現(xiàn)自己來(lái)到三年之后，離奇荒誕的事接踵而來(lái)，究竟為何會(huì)這樣？這三年又發(fā)生了什么事？本身的女友又去了哪里呢？

皆為好事

　　Beginning with a pivotal encounter between two men in Goiás in the 1980s, director Daniel Nolasco weaves a narrative that spans across time and, perhaps, multiple dimensions, driven by the intense forces of desire and love, as well as the suffocating weight of repression and silence. Nolasco, who was featured in Olhar’s Focus section during the pandemic, continues his distinctive and undefinable journey with a radically queer cinema that refuses to look away from the often paradoxical physical expressions of both desire and violence.

無(wú)懼神明

　　影片的故事發(fā)生在波士頓，巴恩斯扮演的尼克是一位意大利裔的美國(guó)年輕人，躊躇滿(mǎn)志的他加入波士頓黑手黨，決心開(kāi)創(chuàng)一番事業(yè)，卻發(fā)現(xiàn)這個(gè)犯罪組織早已不復(fù)昔日之勇?！　∮谑悄峥吮持睦习澹ā堵渌贰?、《壞中尉》男星哈威·凱特爾飾），自立門(mén)戶(hù)，擴(kuò)張版圖，希望重塑往昔的輝煌。一手金錢(qián)，一手美人（莉頓·梅斯特飾），尼克完全不知道自己正走在危險(xiǎn)的懸崖邊。

雛菊2006

 阿姆斯特丹，兩個(gè)男人愛(ài)上了同一個(gè)女人，注定了一段糾纏的故事。惠瑛（全智賢飾）是畫(huà)家，每天到廣場(chǎng)幫路人畫(huà)肖像，而像她一樣風(fēng)雨不改的，還有某人送來(lái)的一盤(pán)雛菊。每天雛菊總是準(zhǔn)時(shí)送到，讓她心里悸動(dòng)而好奇。一天，匆匆而過(guò)的正佑(李成宰 飾)遇上了畫(huà)家。他本是國(guó)際警察，來(lái)這個(gè)城市追捕殺手，然而卻迷上了溫婉動(dòng)人的惠瑛，他讓惠瑛幫他描肖像，他們的愛(ài)情在萌發(fā)盛開(kāi)。這些情景，送花人看在眼里，痛在心里。他的身份注定了他必須給正佑讓出位置，對(duì)惠瑛默默付出。因?yàn)?，他就是正佑所尋找的殺手樸義(鄭宇成 飾)。但是，強(qiáng)烈的愛(ài)終究讓他不再躲在暗處，他決心爭(zhēng)取幸福。二人在法律上，感情上的鮮明對(duì)立，注定了不能完滿(mǎn)的結(jié)局，鮮血在惠瑛描有雛菊的花布上蔓延開(kāi)來(lái)……